ARTIST STATEMENT: My paintings are attempts to create compelling compositions that find their purpose in subtle geometric manipulations of shape. My work of the last three years has been focused on experimenting with creating aesthetic structures in the abstract, composited with the asemic glyphs and black fields which have come to characterize my work. My designs are intentionally non-objective, but I must admit to the influence of graphic design, suprematism, and mass media. Conceptually, the symbolic emblems and fictional linguistic glyphs are more direct in their purpose—they are representative of the myriad symbols that literate human beings associate with meaning and communicative purpose. They are subtle contrivances that elicit the bare feeling that there is a deeper linguistic intention, though the glyphs are purposefully devoid of meaning. Through compositional arrangement and nods to true but obscure scripts, these glyphs are visual depictions of the incredible power of modern humanity to encode and decode complex symbols into the most important and elusive element that makes us unique creatures: our ability to communicate. These symbols have the capacity for infinite depth of meaning, and though I could utilize a heart symbol or a swastika, a crucifix or the letter A, I chose instead to adopt a subtractive process of asemic and nonlinguistic symbolism, much like my predominant painting technique that removes all but the masked colors from the panel. Through this, I hope that I can find an indirect and organic way to connect to the viewer that lies well outside spoken or written language.